Immerse yourself in Legendborn, the exhilarating first installment of the #1 New York Times bestselling Legendborn Cycle, now available in a gorgeous collector’s edition designed in the style of a medieval rare book.

This breathtaking ancient tome hardcover package features:

* Faux leather textured hardcase with brand-new cover art
* Full-color endpapers in front and back
* Filigree foil flourishes on cover, back, and spine
* Custom designed, ornate sprayed stenciled edges
* Six pieces of original medieval woodblock–style interior artwork
* Never-before-seen Legendborn bonus scenes

Discover why BuzzFeed has called this “one of the best fantasy YA series ever written.” The Legendborn world is one you’ll want to visit again and again, and this edition is a must-have for any fantasy library.

Some legends are meant to be broken.

After her mother dies in an accident, sixteen-year-old Bree Matthews wants nothing to do with her family memories or childhood home. A residential program for bright high schoolers seems like the perfect escape—until Bree witnesses a magical attack her very first night on campus.

A flying demon feeding on human energies.

A secret society of so called “Legendborn” students that hunt the creatures down.

And a mysterious teenage mage who calls himself a “Merlin” and who attempts—and fails—to wipe Bree’s memory of everything she saw.

The mage’s failure unlocks Bree’s own unique magic and a buried memory: The night her mother died, another Merlin was at the hospital. Now, Bree will do whatever it takes to find out the truth, even if that means infiltrating the Legendborn as one of their initiates.

But when the Legendborn reveal themselves as the descendants of King Arthur’s knights and explain that a magical war is coming, Bree must decide whether to take the society down—or join the fight.

Hijacking Equity and the Fight for Justice is a field guide for truth-teller and freedom-builders standing in the fire. In a political moment where "equity" has been rebranded as a threat, Dr. Arelia Johnson exposes how language itself has been weaponized. With clarity and conviction, Johnson calls for a new framework: Distributive Justice, an appraoch that refuses neutrality, demands accountability, and rebuilds power where it was stolen.

This book is an essential read for anti-racist, social justice practitioners, leaders, educators, teachers, or anyone interested in the fight for justice.

In Black Madness :: Mad Blackness Therí Alyce Pickens rethinks the relationship between Blackness and disability, unsettling the common theorization that they are mutually constitutive. Pickens shows how Black speculative and science fiction authors such as Octavia Butler, Nalo Hopkinson, and Tananarive Due craft new worlds that reimagine the intersection of Blackness and madness. These creative writer-theorists formulate new parameters for thinking through Blackness and madness. Pickens considers Butler's Fledgling as an archive of Black madness that demonstrates how race and ability shape subjectivity while constructing the building blocks for antiracist and anti-ableist futures. She examines how Hopkinson's Midnight Robber theorizes mad Blackness and how Due's African Immortals series contests dominant definitions of the human. The theorizations of race and disability that emerge from these works, Pickens demonstrates, challenge the paradigms of subjectivity that white supremacy and ableism enforce, thereby pointing to the potential for new forms of radical politics.

We Made the World: Five Centuries of Queens, Warriors, and Other Foremothers traces five centuries of history through twelve extraordinary women of African descent—from queens and warriors to artists and activists—weaving together collective memory, oral tradition, and personal grief into a landmark work that places Black women at the center of world history.

In 1949, a seamstress from a small coastal town in the Gold Coast colony stood up in a room full of men and voted to split from the most powerful political party in the country. Her name was Hannah Kudjoe. She spent the next decade organizing the women who would win Ghana's first democratic election and help make it the first sub-Saharan African nation to gain independence from European colonial rule. When Nkrumah published his autobiography, she wasn't in it.

We Made the World does for twelve women what it does for Hannah Kudjoe. It finds the woman who was in the room, who was essential to the room, and whose name was removed from the record the moment her usefulness to powerful men was exhausted.

We're talking about Queen Njinga of Angola, who fought the Portuguese to a standstill for forty years and died at eighty still a sovereign. Wangarĩ Maathai, the Nobel Peace Prize winner who saved a Nairobi forest by walking upstream through a river at dawn to plant trees while the police watched. Brenda Fassie, the queer Black pop icon who sang South Africa through the end of apartheid and whose music still stops a room on any continent.

The author traveled to eleven countries to write this book. She gathered oral histories from descendants and community keepers across four continents. And she wrote it while experiencing great loss and grief which means this book knows in its bones what it costs to carry someone's memory, and what it costs not to.

We Made the World is five hundred years of history rewritten from the inside. It is the book that asks what we have lost by not knowing these women's names, and begins the important work of giving that back to us all.

Exploring how Afro-Atlantic religion has been used to portray Black womanhood by writers and artists from Beyoncé to Ntozake Shange

In this book, Sheneese Thompson analyzes works of film and literature to explore how Afro-Atlantic religion intersects with themes of resilience in Black femininity and womanhood. Focusing on Beyoncé’s visual album Lemonade, Thompson examines iconography of the Yoruba goddess Oshun, represented by rivers, the color yellow, and other symbols. Thompson argues that Beyoncé’s tribute to Oshun creates a narrative of self-repossession amid external definitions, generational trauma, and emotional violence and draws connections to other works that feature similar religious references.

Oshun, “Lemonade,” and Intertextuality also explores Beyoncé’s album Black Is King, the television series She’s Gotta Have It, Julie Dash’s movie Daughters of the Dust, Ntozake Shange’s novel Sassafrass, Cypress & Indigo, and Jamaica Kincaid’s stories in At the Bottom of the River. These works highlight the significance of African traditional religions for the healing and transformation of their characters. Thompson discusses the ways in which Yoruba and Lucumí imagery and practices such as oríkì, or praise poetry, have long been incorporated into Black cultural texts such as these to tell stories of racial and gender-based injustices. In looking at Lemonade together with influential older texts created by Black women, Thompson establishes the use of Afro-Atlantic religion—to think through Black womanhood, to explore self-defined sexuality—as a central tenet of Black women’s literature, one that these artists and writers have brought to the global stage.

Publication of this work made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.

From New York Times bestselling author and former American Ballet Theatre principal dancer Misty Copeland comes the first book in a middle grade series about a girl who must balance her ballet aspirations with her magical destiny.

Twelve-year-old Josie can’t wait to start classes at the prestigious Star Fire Academy for the Performing Arts. She has been dancing ballet since she was three years old and hopes she can live up to the expectations of the school—and make her parents proud.

When she arrives at the academy, it only takes one class for Josie to know she’s going to have to perform like never before to keep up with her talented fellow students, especially if she wants a shot at the coveted solo in the upcoming fall recital. As Josie digs deep for the confidence and inspiration required for the role, she grows closer to her ballet teacher, Miss Fiona, who tells Josie she’s destined for something far greater than a solo.

According to Miss Fiona, centuries ago an evil sorcerer attempted to turn himself into the most amazing dancer in the world. Instead, his spell went wrong, transforming him into a monstrous being full of rage and envy—but also creating a beautiful dance spirit full of goodness: the Firebird.

Ever since, the two timeless entities have been fighting for the souls of young artists. In every generation, the Firebird is embodied by a new hero, and Josie is next in line. Suddenly, Josie is faced with two roles of a lifetime. Can she rise to the occasion?

Celebrating the Centenary of James Baldwin's birth, a box set of Baldwin's principal novels, featuring Go Tell It on the Mountain, Giovanni's Room, and If Beale Street Could Talk.

These deluxe editions feature new introductions by Roxane Gay, Kevin Young, and Brit Bennett.

Originally published in 1953, Go Tell It on the Mountain was James Baldwin's first major work, based in part on his own childhood. With lyrical precision and a rage that is at once unrelenting and compassionate, Baldwin chronicles a fourteen-year-old boy's discovery of the terms of his identity as the stepson of the minister of a Pentecostal storefront church in Harlem.

Giovanni's Room is set in the Paris of the 1950s, where a young American expatriate finds himself caught between his repressed desires and conventional morality. One of the first novels to openly explore the theme of homosexuality, it paved the way for generations of gay and lesbian novelists.

And If Beale Street Could Talk is a stunning love story about a young Black woman whose life is torn apart when her lover is wrongly accused of a crime --a profoundly moving novel about love in the face of injustice that is as socially resonant today as it was when it was first published.

This stunningly designed slipcase with art by Baldwin's friend and contemporary Beauford Delaney will make the perfect perennial gift and keepsake.

“Mahalia Jackson was the greatest gospel singer of her time and an overlooked leader in the Civil Rights Movement. Her voice seemed born of heaven.” ?Henry Louis Gates Jr.

If Americans today still recognize the name Mahalia Jackson, they might recall that she was perhaps the greatest gospel singer who ever lived. But for many people, there is no awareness at all, not even for an entertainer whose “Move On Up a Little Higher” sold eight million copies, who headlined two Newport Jazz Festivals and performed before four United States presidents.

While this rich musical legacy is admired by those in the know, virtually no one recognizes Jackson’s astonishing role in American civil rights history. In this startling new depiction of the renowned gospel singer, New York Times best-selling author Timothy B. Tyson and Mary D. Williams, an acclaimed gospel singer herself, bring Jackson back to soaring life by positioning her as the major civil rights figure she, in fact, was.

Mahlia Jackson, Moving On Up a Little Higher then traces Jackson’s career from abject poverty in New Orleans to global superstardom, revealing how even after meteoric success, Jackson maintained an unwavering devotion to Black freedom. In the 1930s in Chicago, even before the Civil Rights Movement took its modern shape, she used her rapturous voice to support independent Black political power. Her work only intensified in the 1940s and beyond when she campaigned first for Franklin D. Roosevelt, and later for Harry Truman, John F. Kennedy, and Lyndon B. Johnson; headlined in Montgomery for the 1955–56 bus boycott; sang for the Birmingham campaign and on the Selma March; and performed at the iconic 1963 March on Washington, where she urged Martin Luther King Jr. to “Tell ’em about the dream.” In retrospect what becomes historically significant is that Mahalia Jackson was present at so many civil rights events, even singing a divine rendition of “Precious Lord, Take My Hand,” at Dr. King’s funeral in 1968. Weakened and worn, she succumbed to heart failure four years later at the age of sixty.

Weaving together Mahalia Jackson’s inspiring life journey with her soulful music into a transcendent text, this biography ultimately casts Mahalia Jackson as we’ve never seen her before, as a guiding light for the Civil Rights Movement, whose message still speaks to our struggles today.

5 illustrations

NATIONAL BESTSELLER • FINALIST FOR THE DAYTON LITERARY PEACE PRIZE, HURSTON/WRIGHT LEGACY AWARD, AND PEN OPEN BOOK AWARD

NAMED A BEST BOOK OF THE YEAR BY: Washington Post, Boston Globe, and NPR

“Magical and dangerous. I could not put it down.”—Tayari Jones, bestselling author of Kin

From the New York Times bestselling author of Bad Feminist and Hunger, a “smart, searing” (Washington Post) novel following a strong-willed Haitian American woman who must survive a brutal kidnapping—now featuring a new foreword by the author

Published to terrific acclaim and a national bestseller, An Untamed State heralded Roxane Gay as a prodigious, arresting talent and one of the preeminent writers working today. 

By all appearances, Mireille Duval Jameson is living the perfect life: she’s the daughter of one of Haiti’s richest sons and has an adoring husband and a precocious infant son. The fairytale ends when Mireille is kidnapped in broad daylight by a gang of heavily armed men in front of her father’s Port-au-Prince estate. Held for ransom, Mireille must endure the torments of a man who calls himself the Commander and who resents everything she represents. 

A powerful, unflinching story of wealth in the face of crushing poverty and the lawless anger that corrupt governments produce, Roxane Gay’s brilliant debut is the tale of one strong-willed woman, and redemption found in the most unexpected of places.

An exploration of how African American innovators and artists—whose impact and financial value in American music, movies, and TV is disproportionately greater than their numbers—have fought for and often won the rights to own and benefit from their own work.

When we think about the things that have barred success for African Americans, intellectual property law is hardly the first thing that comes to mind, if we even think of it all. We certainly don’t think of it as the launching pad for building generational wealth in the Black community, so it follows that we don’t see our favorite pop stars as revolutionary race warriors.

African American artists have finally, belatedly, come to be the owners of their art and beneficiaries of the money their art makes, after centuries of producing life-changing art. There were hundreds and thousands of Bessie Smiths before we ever got Beyoncé or Kendrick Lamar.

Lisa E. Davis, one of the foremost entertainment attorneys in the country, traces the epic journey Black Americans have been on, from being claimed as property to claiming the benefits of intellectual property. As she notes, “Under slavery, our minds were always free, but there was no profit from what our minds created.”

Beginning in the 18th century with the drafting of the Constitution and ending in the 21st century with a warning about the role technology will play in creative industries, Our Minds Were Always Free tells the story of the indelible legacy of Black American genius and the struggle to receive the credit and the profit that they deserved.

A groundbreaking debut collection portraying the lived experiences of Black Muslims grappling with faith, family, and freedom in America.

In Temple Folk, Black Muslims contemplate the convictions of their race, religion, economics, politics, and sexuality in America. The ten stories in this collection contribute to the bounty of diverse narratives about Black life by intimately portraying the experiences of a community that resists the mainstream culture to which they are expected to accept and aspire to while functioning within the country in which they are born.

In “Due North,” an obedient daughter struggles to understand why she’s haunted by the spirit of her recently deceased father. In “Who’s Down?” a father, after a brief affair with vegetarianism, conspires with his daughter to order him a double cheeseburger. In “Candy for Hanif” a mother’s routine trip to the store for her disabled son takes an unlikely turn when she reflects on a near-death experience. In “Woman in Niqab,” a daughter’s suspicion of her father’s infidelity prompts her to wear her hair in public. In “New Mexico,” a federal agent tasked with spying on a high-ranking member of the Nation of Islam grapples with his responsibilities closer to home.

With an unflinching eye for the contradictions between what these characters profess to believe and what they do, Temple Folk accomplishes the rare feat of presenting moral failures with compassion, nuance and humor to remind us that while perfection is what many of us strive for, it’s the errors that make us human.